Matthew Fuller: Media Ecologies: Materialist Energies in Art and Technoculture (2005)

In Media Ecologies, Matthew Fuller asks what happens when media systems interact. Complex objects such as media systems—understood here as processes, or elements in a composition as much as “things”—have become informational as much as physical, but without losing any of their fundamental materiality. Fuller looks at this multiplicitous materiality—how it can be sensed, made use of, and how it makes other possibilities tangible. He investigates the ways the different qualities in media systems can be said to mix and interrelate, and, as he writes, “to produce patterns, dangers, and potentials.”

Fuller draws on texts by Felix Guattari and Gilles Deleuze as well as writings by Friedrich Nietzsche, Marshall McLuhan, Donna Haraway, Friedrich Kittler, and others, to define and extend the idea of “media ecology.” Arguing that the only way to find out about what happens when media systems interact is to carry out such interactions, Fuller traces a series of media ecologies—”taking every path in a labyrinth simultaneously,” as he describes one chapter. He looks at contemporary London-based pirate radio and its interweaving of high- and low-tech media systems; the “medial will to power” illustrated by “the camera that ate itself”; how, as seen in a range of compelling interpretations of new media works, the capacities and behaviors of media objects are affected when they are in “abnormal” relationships with other objects; and each step in a sequence of Web pages, Cctv—world wide watch, that encourages viewers to report crimes seen via webcams.

Contributing to debates around standardization, cultural evolution, cybernetic culture, and surveillance, and inventing a politically challenging aesthetic that links them, Media Ecologies, with its various narrative speeds, scales, frames of references, and voices, does not offer the academically traditional unifying framework; rather, Fuller says, it proposes to capture “an explosion of activity and ideas to which it hopes to add an echo.”

Published by MIT Press, 2005
ISBN 026206247X, 9780262062473
265 pages

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Oliver Grau: Virtual Art: From Illusion To Immersion (2001–)

“Although many people view virtual reality as a new phenomenon, it has its foundations in an unrecognized history of immersive images. Indeed, the search for illusionary visual space can be traced back to antiquity. In this book, Oliver Grau shows how virtual art fits into the art history of illusion and immersion. He describes the metamorphosis of the concepts of art and the image and relates those concepts to interactive art, interface design, agents, telepresence, and image evolution. Grau retells art history as media history, helping us to understand the phenomenon of virtual reality beyond the hype.

Grau shows how each epoch used the technical means available to produce maximum illusion. He discusses frescoes such as those in the Villa dei Misteri in Pompeii and the gardens of the Villa Livia near Primaporta, Renaissance and Baroque illusion spaces, and panoramas, which were the most developed form of illusion achieved through traditional methods of painting and the mass image medium before film. Through a detailed analysis of perhaps the most important German panorama, Anton von Werner’s 1883 The Battle of Sedan, Grau shows how immersion produced emotional responses. He traces immersive cinema through Cinerama, Sensorama, Expanded Cinema, 3-D, Omnimax and IMAX, and the head mounted display with its military origins. He also examines those characteristics of virtual reality that distinguish it from earlier forms of illusionary art. His analysis draws on the work of contemporary artists and groups ART+COM, Maurice Benayoun, Charlotte Davies, Monika Fleischmann, Ken Goldberg, Agnes Hegedues, Eduardo Kac, Knowbotic Research, Laurent Mignonneau, Michael Naimark, Simon Penny, Daniela Plewe, Paul Sermon, Jeffrey Shaw, Karl Sims, Christa Sommerer, and Wolfgang Strauss. Grau offers not just a history of illusionary space but also a theoretical framework for analyzing its phenomenologies, functions, and strategies throughout history and into the future.”

This book is a translation of a revised and expanded version of a book entitled Virtuelle Kunst in Geschichte und Gegenwart: Visuelle Strategien, Berlin: Reimer, 2001.

Translated by Gloria Custance
Publisher MIT Press, 2004
Leonardo Books series
ISBN 0262572230, 9780262572231
430 pages

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Tiziana Terranova: Network Culture: Politics for the Information Age (2004)

“In an age of email lists and discussion groups, e-zines and weblogs, bringing together users, consumers, workers and activists from around the globe, what kinds of political subjectivity are emerging? What kinds of politics become possible in a time of information overload and media saturation? What structures of power and control operate over a self-organising system like the internet?

In this highly original new work, Tiziana Terranova investigates the political dimension of the network culture in which we now live, and explores what the new forms of communication and organisation might mean for our understanding of power and politics. Terranova engages with key concepts and debates in cultural theory and cultural politics, using examples from media culture, computing, network dynamics, and internet activism within the anti-capitalist and anti-war movements.

Network Culture concludes that the nonlinear network dynamics that link different modes of communication at different levels (from local radio to satellite television, from the national press to the internet, from broadcasting to rumours and conspiracy theories) provide the conditions within which another politics can emerge. This other politics, the book suggests, does not entail the production of a new political discourse or ideology, but the invention of micropolitical tactics able to stand up to new forms of social control.”

Published by Pluto Press, 2004
ISBN 0745317499, 9780745317496
208 pages

Reviews: Wright (Mute, 2005), Zeffiro (Canadian Journal of Communication, 2006), Jackson (Participations, 2008), Wark (Public Seminar, 2015).

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